So I'm now five episodes into Heroes and it is AWESOME.
The plot never fails to surprise you every single episode, not in a lame Lost way of 'hey, let's throw in another nonsensical thing that we'll never actually explain but pretend that we will so everyone will keep watching!' kind of way, but in a properly tense way.
There are a whole load of different plot threads, but they're all credible, and while the characters are meeting each other in less-than-credible ways, it's very easy to get sucked into the drama while appreciating the show's originality.
Also, the soundtrack is very good. The music doesn't distract from anything but really creates a strange atmosphere at points. And Nora Zehetner from Brick is in it. She's actually a bit annoying. But it's nice to see her pretty face.
I hate to keep comparing Heroes to Lost, but it's inevitable as they're both high-budget multi-character mystery shows...and Heroes is better. It takes some of the stupid stuff that might have been in Lost, like at point a guy appears saying "I'm from the future...I have a message for you.", but it's all completely part of the action and every revelation is maintained instead of ignored so that the audience is both informed and in suspense.
It's good stuff. Very good. I just hope it can keep delivering.
In other news: you know what's annoying? Watching Snakes On A Plane with a bunch of people who haven't seen it, months after all the 'Goats on a Boat' jokes stopped being funny.
Grr.
Thursday, March 29, 2007
Wednesday, March 28, 2007
Let's just calm down for a moment, shall we?
Okay, so far this blog hasn't exactly been concerned with the most sophisticated end of television and cinema. It's mostly been cartoons and whatever's out on general release.
Don't think I haven't noticed this. I have. So, in consideration for you, my readers, in search of some cultural brain-food, I did some proper film-watching this week.
Weekend At Bernie's
If you ever need proof (and you shouldn't) that the 80s weren't sexy, this is the film for you. The shapes, the colours, the music, the values, it was all wrong. Anyway, the film.
The plot is water-tight. Two office workers, Richard (the stressy one) and Larry (the goofy one) stumble upon a flaw in their company's accounts, suggesting corruption. They take it to their boss, Bernie, who is understandably impressed and invites them to his house for the weekend. The guys are overjoyed, consumed with a mixture of 80s greed and what seems like a wild sexual attraction to Bernie. Anyway, one thing leads to another and Bernie ends up dead. Of course, Larry and Richard want to party, so they pretend that Bernie is alive. With "hilarious results".
It seems pointless to highlight any flaws in this film, because you get the feeling that no one involved in the making of it would care. It did make me chuckle a couple of times, but my main argument with it is that it's so dated. And I just don't like the 80s. I'm sorry. I know I'm meant to, but I just don't.
If you like films such as Baseketball, The Whole Nine Yards, Office Space, etc. You might get a kick out of this.
But Some Like It Hot it ain't.
"Gee Joel, seems like an awfully elaborate way to point out how you're not watching any proper films."
"Shut up, the blog's not finished yet."
I Live In Fear
Apparently Akira Kurosawa said that he was proud of this film above all of his others...it doesn't quite match up to Seven Samurai or Stray Dog, but it's still pretty amazing.
It's the story of a post-war Japanese family trying to section the patriarch father when he tries to move them to Brazil, in fear of nuclear war.
I always tend to watch Kurosawa films when I'm tired, which is a habit I have to break, but this one kept me awake and alert the whole time, even though nothing really happened.
There are moments of visual and emotional beauty on display here, especially when the father cradles his newborn grandchild in a moment of irrational fear and the downbeat ending. The pacing is brilliant, and Kurosawa makes people sitting down and having a chat surprisingly tense.
The characters are all flawed but sympathetic, and the central character of the father is a very complex representation of post-war Japan; steeped in fear of the H-bomb, but also making us doubt his sanity on the issue.
If you've never seen a Kurosawa film, please start. I wouldn't suggest watching this one first, but it's worth a look at some point.
Now back to my cartoons.
Don't think I haven't noticed this. I have. So, in consideration for you, my readers, in search of some cultural brain-food, I did some proper film-watching this week.
Weekend At Bernie's
If you ever need proof (and you shouldn't) that the 80s weren't sexy, this is the film for you. The shapes, the colours, the music, the values, it was all wrong. Anyway, the film.
The plot is water-tight. Two office workers, Richard (the stressy one) and Larry (the goofy one) stumble upon a flaw in their company's accounts, suggesting corruption. They take it to their boss, Bernie, who is understandably impressed and invites them to his house for the weekend. The guys are overjoyed, consumed with a mixture of 80s greed and what seems like a wild sexual attraction to Bernie. Anyway, one thing leads to another and Bernie ends up dead. Of course, Larry and Richard want to party, so they pretend that Bernie is alive. With "hilarious results".
It seems pointless to highlight any flaws in this film, because you get the feeling that no one involved in the making of it would care. It did make me chuckle a couple of times, but my main argument with it is that it's so dated. And I just don't like the 80s. I'm sorry. I know I'm meant to, but I just don't.
If you like films such as Baseketball, The Whole Nine Yards, Office Space, etc. You might get a kick out of this.
But Some Like It Hot it ain't.
"Gee Joel, seems like an awfully elaborate way to point out how you're not watching any proper films."
"Shut up, the blog's not finished yet."
I Live In Fear
Apparently Akira Kurosawa said that he was proud of this film above all of his others...it doesn't quite match up to Seven Samurai or Stray Dog, but it's still pretty amazing.
It's the story of a post-war Japanese family trying to section the patriarch father when he tries to move them to Brazil, in fear of nuclear war.
I always tend to watch Kurosawa films when I'm tired, which is a habit I have to break, but this one kept me awake and alert the whole time, even though nothing really happened.
There are moments of visual and emotional beauty on display here, especially when the father cradles his newborn grandchild in a moment of irrational fear and the downbeat ending. The pacing is brilliant, and Kurosawa makes people sitting down and having a chat surprisingly tense.
The characters are all flawed but sympathetic, and the central character of the father is a very complex representation of post-war Japan; steeped in fear of the H-bomb, but also making us doubt his sanity on the issue.
If you've never seen a Kurosawa film, please start. I wouldn't suggest watching this one first, but it's worth a look at some point.
Now back to my cartoons.
Monday, March 26, 2007
Dark Nights
Today I saw 10 rabbits. And a fox. Nothing bloody happened, don't worry.
I also watched some of Batman: The Animated Series. I think it might just be the best Batman screen adaptation ever; it seems to get the tone just right.
Batman Begins is very, very good, but I seemed bogged down by having too much of a story to tell. So I've got very high hopes for The Dark Knight, even if Aaron Eckhart is playing Harvey Dent. He'll be even less charismatic than Katie Holmes.
But the buzz around it sounds good. Heath Ledger's inspiration point for playing the Joker is The Killing Joke by Alan Moore, which is great and dark and sinister. Should be better than Jack Nicholson's wacky portrayal.
There's something about old Bats that I just find appealing. I can even sit through Batman & Robin. Sometimes. Okay, well, maybe not, but I do like most of the things associated with him. Hell, I even like Batman of the Future. Yes, yes I do. I actually think it's very good. Yeah. Screw you.
The Animated Series got the right balance of noir chic and ripping yarn, where it's been botched in the past by trying to be either too moody or just shit.
Also, last night I finally watched the first episode of Heroes, after being badgered by many a peer. I wanted to watch it when it premiered, but alas my freeview box does not provide Sci-Fi. Luckily, Heroes is actually pretty damn good. I can't say too much right now because I'm only one episode in, but as first episodes go it's a hell of a lot better than Lost.
Don't even try to make a case for Lost. It's bad and you know it.
More on Heroes as it comes.
I also watched some of Batman: The Animated Series. I think it might just be the best Batman screen adaptation ever; it seems to get the tone just right.
Batman Begins is very, very good, but I seemed bogged down by having too much of a story to tell. So I've got very high hopes for The Dark Knight, even if Aaron Eckhart is playing Harvey Dent. He'll be even less charismatic than Katie Holmes.
But the buzz around it sounds good. Heath Ledger's inspiration point for playing the Joker is The Killing Joke by Alan Moore, which is great and dark and sinister. Should be better than Jack Nicholson's wacky portrayal.
There's something about old Bats that I just find appealing. I can even sit through Batman & Robin. Sometimes. Okay, well, maybe not, but I do like most of the things associated with him. Hell, I even like Batman of the Future. Yes, yes I do. I actually think it's very good. Yeah. Screw you.
The Animated Series got the right balance of noir chic and ripping yarn, where it's been botched in the past by trying to be either too moody or just shit.
Also, last night I finally watched the first episode of Heroes, after being badgered by many a peer. I wanted to watch it when it premiered, but alas my freeview box does not provide Sci-Fi. Luckily, Heroes is actually pretty damn good. I can't say too much right now because I'm only one episode in, but as first episodes go it's a hell of a lot better than Lost.
Don't even try to make a case for Lost. It's bad and you know it.
More on Heroes as it comes.
Saturday, March 24, 2007
Fincher than you
So I just watched the trailer for David Fincher's Zodiac - I'm pretty hyped up about it.
Strangely, the trailer says 'From the director of Se7en and Panic Room' with no mention of the much more popular Fight Club; but this tells you what kind of film it's gonna be, and I think this is a good thing.
It looks good - nice cast, interesting real-life premise, and it's Fincher so you're covered as far as cinematography goes.
But it won't be as good as Se7en. There is very little that is as good as Se7en. Yes, including Fight Club.
But, Robert Downey Jr. with a '70s look and Brian Cox - I'm looking forward to it with joy.
Also, I just looked at the Empire website for the first time in a long, long time - they have an article called 'David Lynch's Inland Empire explained!'.
This is why I don't go to the Empire website anymore.
The article just sums up Inland Empire - the least-sum-up-able film ever made - in a few paragraphs and literally says 'So, yeah, basically, it's all about this.'
Whoa, that just reminded me, I think I had a dream last night that included the words 'Inland Empire'. Or maybe that was the film. It was more dreamlike than most of my dreams.
Anyway, the point is, Empire should stop trying to be cool and clever by completely negating the work of such an interesting director. I think I just feel strongly about this because it seems like Lynch's films shouldn't ever have any sort of concrete literal interpretation; just watch and be scared.
Strangely, the trailer says 'From the director of Se7en and Panic Room' with no mention of the much more popular Fight Club; but this tells you what kind of film it's gonna be, and I think this is a good thing.
It looks good - nice cast, interesting real-life premise, and it's Fincher so you're covered as far as cinematography goes.
But it won't be as good as Se7en. There is very little that is as good as Se7en. Yes, including Fight Club.
But, Robert Downey Jr. with a '70s look and Brian Cox - I'm looking forward to it with joy.
Also, I just looked at the Empire website for the first time in a long, long time - they have an article called 'David Lynch's Inland Empire explained!'.
This is why I don't go to the Empire website anymore.
The article just sums up Inland Empire - the least-sum-up-able film ever made - in a few paragraphs and literally says 'So, yeah, basically, it's all about this.'
Whoa, that just reminded me, I think I had a dream last night that included the words 'Inland Empire'. Or maybe that was the film. It was more dreamlike than most of my dreams.
Anyway, the point is, Empire should stop trying to be cool and clever by completely negating the work of such an interesting director. I think I just feel strongly about this because it seems like Lynch's films shouldn't ever have any sort of concrete literal interpretation; just watch and be scared.
Friday, March 23, 2007
Turtle Soup
Okay.
Bad stuff:
-Splinter looks like Basil Brush.
-Inexplicably bad quips ("They really don't die!")
-Not nearly enough Donatello.
-It doesn't make any sense.
-The baddie looks like Mr. Incredible but sounds like Captain Picard.
-IT DOESN'T MAKE ANY SENSE.
-Michaelangalo is still annoying. There. I said it.
Good stuff:
-Splinter is voiced by Aku from Samurai Jack.
-A fleeting Samurai vs. Ninja girlfight.
-A kitchen fight with a baby imp set to 'Black Betty'.
-Someone falls to their knees and screams "NO!" (when has this not been funny?)
So, no, it's not a good film. In fact, it's an insult to the characters and at times embarrassing. However, it's also very entertaining and by the time you notice something to complain about it's just disappeared into a bigger plot hole or a non-sensical action scene.
And yes, I realise that I just dedicated an entire blog to TMNT.
I'll watch some proper films soon, I promise.
flog tlog is go!
It begins!
My official blog for all things film and telvision.
I'll generally be talking about stuff I'm into or have viewed lately, be it old or new.
First off, the other day I watched Studio Ghibli's Pom Poko (and it was a free rental on account of colourful St. Patrick's Day costumes) and it was awesome. Hayao Miyazaki may be one of the greatest people in the world; people say he's the Japanese Walt Disney, but he makes better films and instead of racism it's socialism. As long as he keeps making his no-plot-just-make-everything-awesome films, the world will be good.
On the TV side, there's another Japanese product - the animé series Samurai Champloo, which was created by Shinichiro Watanabe, the same guy who brought us the amazing show Cowboy Bebop, which I love like a little square-headed son.
Samurai Champloo is very similar to Cowboy Bebop, but instead of being set in futuristic space, it's set in ancient Edo Japan. The (loose) plot follows three characters in their search for a samurai who smells like sunflowers (I don't know why yet) - Mugen, a restless, carefree criminal, Jun, a reserved samurai, and Fuu, a young but indepedent girl. Despite being a period piece, Samurai Champloo doesn't exactly stick to the facts concerning history - but you don't really expect it to, what with the soundtrack comprising mainly of hip-hop.
However, Samurai Champloo does contain a lot of detail about Japanese culture, as opposed to Cowboy Bebop which was much more Westernised. Samurai Champloo is a great show, although for me it doesn't quite reach Bebop heights - but I am only six episodes in at the moment, and loving every second. A good way to describe the difference is to say that Samurai Champloo is to hip-hop what Cowboy Bebop is to jazz. I just prefer jazz.
In new releases, there's 300, which is considerably less Japanese but with just as much disregard for historical accuracy. It's also the gayest movie since Top Gun. And not very good. But if you like that sort of thing, you'll love it.
Out.
My official blog for all things film and telvision.
I'll generally be talking about stuff I'm into or have viewed lately, be it old or new.
First off, the other day I watched Studio Ghibli's Pom Poko (and it was a free rental on account of colourful St. Patrick's Day costumes) and it was awesome. Hayao Miyazaki may be one of the greatest people in the world; people say he's the Japanese Walt Disney, but he makes better films and instead of racism it's socialism. As long as he keeps making his no-plot-just-make-everything-awesome films, the world will be good.
On the TV side, there's another Japanese product - the animé series Samurai Champloo, which was created by Shinichiro Watanabe, the same guy who brought us the amazing show Cowboy Bebop, which I love like a little square-headed son.
Samurai Champloo is very similar to Cowboy Bebop, but instead of being set in futuristic space, it's set in ancient Edo Japan. The (loose) plot follows three characters in their search for a samurai who smells like sunflowers (I don't know why yet) - Mugen, a restless, carefree criminal, Jun, a reserved samurai, and Fuu, a young but indepedent girl. Despite being a period piece, Samurai Champloo doesn't exactly stick to the facts concerning history - but you don't really expect it to, what with the soundtrack comprising mainly of hip-hop.
However, Samurai Champloo does contain a lot of detail about Japanese culture, as opposed to Cowboy Bebop which was much more Westernised. Samurai Champloo is a great show, although for me it doesn't quite reach Bebop heights - but I am only six episodes in at the moment, and loving every second. A good way to describe the difference is to say that Samurai Champloo is to hip-hop what Cowboy Bebop is to jazz. I just prefer jazz.
In new releases, there's 300, which is considerably less Japanese but with just as much disregard for historical accuracy. It's also the gayest movie since Top Gun. And not very good. But if you like that sort of thing, you'll love it.
Out.
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